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Wooden Statue of the Guanyin Deity Wiki
'Brief Identification' This roughly 4.5’ Paulownia wood statue is a portrayal of the Guanyin diety, a Chinese bodhisattva Meulenbend 2016, 2 known as the “goddess of mercy and compassion” Hedges 2012, 1. It is believed to have been created in the early 12th century CE in China under the Jin Dynasty (also known as the Jurchen Jin Dynasty) "Guanyin, Bodhisattva of Compassion" 2018. It is interesting that this statue does not incorporate much of the symbolism associated with the Guanyin, such as a willow branch, which symbolizes the ability to bend but not break, or a water jar, symbolizing the “divine nectar of life” Gehrmann 2018. However, she does wear a crown of sorts, which symbolizes Amitabha Buddha (Guany Yin’s teacher before she became a Bodhisattva). The beads and jewelry around her neck symbolize the continuing circle of “rebirth into nirvana” and enlightenment Gehrmann 2018. In this statue, she is depicted as if she is gazing into a pond with fish, a metaphor for her watching over the world’s pain Gehrmann 2018. The statue is currently located in the Museum of Fine Arts (MFA) in Boston, Massachusetts "Guanyin, Bodhisattva of Compassion" 2018 'Technical Evaluation' This Guanyin statue is 141 X 88 X 88 cm, making it approximately 4.5ft tall. It is made entirely of Paulownia wood with polychrome and gilding "Guanyin, Bodhisattva of Compassion" 2018. Polychrome is a technique used in porcelain-making that was improved upon during the Jin and Southern Song Dynasties. The creation of the dragon kiln during the Southern Song Dynasty made pottery a larger and more profitable industry Levine 2018, and techniques such as polychrome became more widely used. Gilding is a process of applying thin layers, typicaly of gold. Between the Tang and Song Dynasties (approximately 620-1270), Chinese artists experimented with using mercury and silver in their gilding process, some of which may be present on this statue Jett 2018. Through cross-sectional analysis and imaging, it was concluded that the statue was originally decorated in colors of pale blues and subtle tones. In later years, to make the statue more "visible" and add a reflective quality, the statue was painted over with the vivid greens, shiny gold, and bright reds that currently color it. This shift from naturalistic colors to bold colors was more than likely adopted during the Ming Dynasty, as that was when Buddhist art became more vibrant Twilley 2014, 167. The wooden Guanyin statue most likely became a part of William Sturgis Bigelow's collection some time during travels of 1880-1920. Sturgis collected Asian art as well as taught surgery at Harvard University. He was a trustee of the Museum of Fine Arts, and he donated much of his collection to the MFA in 1911. In his old age, he is assumed to have sold the statue and his remaining artifacts to Yamanaka and Company, a New York Asian Art Firm "Archives Directory for the History of Collecting" 2018. On March 4th, 1920, the Museum of Fine Arts (MFA) in Boston, Massachusetts, purchased the Guanyin statue and two other artifacts for $50,000. They purchased it using funds donated from the Edward Wetzel Fund. It is on display in the MFA "Asia" collection "Guanyin, Bodhisattva of Compassion" 2018. Local Historical Context This Guanyin statue was created in the early 12th century CE in China during the rule of the Jin and Southern Song Dynasties "Guanyin, Bodhisattva of Compassion" 2018. The Jin are also known as the Jurchen Jin, as not to be confused with the Chinese Jin Dynasty that ruled from 266 to 316 CE Cartwright 2018. The Jurchen Jin Dynasty originated in Manchuria, and ruled parts of China, northern Korea, and Mongolia. Following their conquest of the neighboring Liao empire, they expanded into parts of Song China and the Great Planes around 1127 CE. The Jurchen Jin Dynasty and the Southern Song Dynasty fell to Mongols slowly through constant invasions during the beginning of the 13th century, and finally collapsed due to significant Mongol forces around 1260 CE Cartwright 2018. The Jurchen specialized in animal husbandry, specifically horse breeding, from which they sourced a majority of their revenue. Their superior cavalry skills assisted them in their conquests and also foreshadowed the rise of the Mongols Cartwright 2018. Their agriculture was very developed; they grew gain, millet, and cultivated flax to create linens. At first, the Jurchen Jin capital was at Shangjing, but it moved to Yangjing after the takeover of Liao territory. Then, as a neighbor to Song Dynasty China, the Jurchen became more organized and adopted Chinese customs, such as a Chinese-style government with 5 capitals Ulrich 2018. They expanded their arts, and produced many paintings, woven textiles, and jade carvings, many of which displayed hunting and horseback scenes, as hunting and fishing were primary occupations Twilley 2014, pg 165. The Jurchen interacted much with the neighboring Song Dynasty, which was also experiencing dramatic growth during this time. The Green Revolution brought about more crops such as champa rice, which could be harvested 3 times per year and provided much revenue. New techniques in teraforming, improved transportation, and the growth of cash crops brought about an end to sustenance farming. Technology evolved with the improved economy, and porcelain, iron and steel, gunpowder, woodblock printing, and the compass were developed and improved upon. Porcelain in particular was sought after, and new techniques in polychrome porcelain are shown in the Guanyin statue. Because of an improved economy and advanced technologies, population boomed, especially along the Yangtze Delta, and by 1127 the region was considered the most urbanized in the world Levine 2018. All of this provided an avenue for the further spread of Buddhism, which lead to the creation of more Buddhist temples and Buddhist art, such as the wooden Guanyin statue. The Jurchen Dynasty and the Southern Song Dynasty were primarily Buddhist, though Daoism was also popular, and they were influenced by Confucian teachings. The wooden Guanyin statue was probably created to exist in a Buddhist temple, where devout followers could come pray before it Hedges 2012, 3. It would have taken a lengthy time to create, and many artists to complete it as they employed many gilding and polychrome techniques "Guanyin, Bodhisattva of Compassion" 2018. The artists were more than likely employed by a Buddhist temple to create such a masterpiece, as a sculpture of this magnitude wouldn't have been a household commodity Hedges 2012, 3. It is possible that the funds to create it came from the late Jurchen-Jin Government, as rulers during the time were known to sponsor the creation of Buddhist temples and art, such as in the Song Dynasty Ulrich 2018. Twilley concludes that "those who commissioned the Guanyin clearly intended the visual impact of the sculpture to augment the religious experience while communicating important Buddhist values" Twilley 2014, 167. World Historical Significance This wooden Guanyin statue was one of many similar relics made during the Jin and Song Dynasties. The creation of it and other artifacts symbolizes the wealth and prosperity of early Jin and Southern Song China as well as the spread and evolution of Buddhist ideas. Similar artifacts that employed the newly developed polychrome and gilding techniques developed in Song China were found in surrounding areas, such as Japan and Korea, and are estimated to have been created during a similar time period Cartwright 2018. This represents the rapid relay of technologies and information in South Asia, and the obvious intermixing of their cultures, especially since most of the art created during this time and with this degree of reverence was representative of Buddhism. This wooden Guanyin statue symbolizes not only prosperity and new technologies throughout South Asia in the 12th century, but also a shift in gender perspectives. The Guanyin deity is the first Chinese bodhisattva to be portrayed as female, which inspired new ways of thinking in a patriarchal Chinese society which saw female celibacy as “an abomination” Hedges 2012, 93 . Some historians believe that this introduction of an influential female figure in Buddhism empowered women. For example, Empress Dowager Cixi, ruler of Qing China (1835-1908) used the gender identity of the Guanyin to solidify her position as a female sovereign, going as far as to have her royal paintings made in the style of similar art dedicated to the Guanyin Yuhang 2012. However, others believe that the legends surrounding the Guanyin deity only reinforce patriarchal systems Reed 1992. One such legend is the story of Princess Maioshan, who was considered an incarnation of Guanyin. According to the story, she was incredibly devout to Buddhism, refused marriage, and was sent into isolation. When her father fell gravely ill “on account of that sinful karma,” she cut off her hands and gouged out her eyes so that he could eat them and be cured. However, before he could eat, his daughter disappeared and was replaced by the Guanyin, who stopped him Muelenbeld 2016, 692. The royal family and their kingdom practiced Buddhism from thereon. This, according to Yü, is an example of the Guanyin supporting patriarchal values; he argues that Princess Maioshan’s refusal to get married was an example to many Buddhists of a breach of Chinese filial piety, and that “this breach in familial and cosmic harmony could only be mended by having herself reincorporated by her father through the latter’s eating of her flesh” 2001. These two examples of the Guanyin influencing the roles of women in China further opened the door for more consideration on the matter, and this discussion ultimately contributed to the decline of strict patriarchies in Southern Asia and the rest of the continent. Suggested Bibliography Meulenbeld, Mark. “Death and Demonization of a Bodhisattva: Guanyin’s Reformulation within Chinese Religion.” Journal of the American Academy of Religion, vol. 84, no. 3, Sept. 2016 Hedges, Paul M.(Paul Michael). “The Identity of Guanyin: Religion, Convention and Subversion.” Culture and Religion, vol. 13, no. 1, Mar. 2012 Yuhang, Li. “Oneself as a Female Deity: Representations of Empress Dowager Cixi as Guanyin.” NAN NU -- Men, Women & Gender in Early & Imperial China, vol. 14, no. 1, June 2012 Twilley, John, et al. “New Insights into Jin and Post-Jin Polychromy and Refurbishment Practices: A Multi-Disciplinary, Multi-Analytical Approach.” Studies in Conservation, vol. 59, Sept. 2014, pp. S165–S168. EBSCOhost, doi:10.1179/204705814X13975704319037. Reed, Barbara E. 1992. “The gender symbolism of Kuan-yin Bodhisattva”. In Buddhism, sexuality and gender, Edited by: Cabezón, José Ignacio. 159–80. Albany, NY: State University of New York Press Yü, Chün-fang. 2001. Kuan-yin: The Chinese transformation of Avalokiteśhvara, New York: Columbia University Press Jett, Paul, and W. T. Chase. “The Gilding of Metals in China.” Objects Specialty Group Postprints, resources.conservation-us.org/osg-postprints/postprints/v03/jett/. Cartwright, Mark. “Jurchen Jin Dynasty.” Ancient History Encyclopedia, Ancient History Encyclopedia, 8 Nov. 2018, www.ancient.eu/Jurchen_Jin_Dynasty/. Ulrich Theobald. "Chinese History - Jin Dynasty (Jurchen) 金 religion and customs".www.chinaknowledge.de. Retrieved 5 November 2018 Gehrmann, Valeska. “___ Guan Yin, Guan Yim, Kuan Yim, Kuan Yin.” History of Yemen - Key Figures in Yemen's History, www.nationsonline.org/oneworld/Chinese_Customs/Guan_Yin.htm. “Guanyin, Bodhisattva of Compassion.” Museum of Fine Arts, Boston, 29 Apr. 2018, www.mfa.org/collections/object/guanyin-bodhisattva-of-compassion-28589. Levine, Daniel `. “Commercial Revolutions and Global Trade Networks.” Song China and South Asia. History 2701 Lecture, 1 Nov. 2018, Athens. “Archives Directory for the History of Collecting.” Morgan, J. Pierpont (John Pierpont), 1837-1913 | Archives Directory for the History of Collecting, Center for the History of Collecting, The Frick Collection, research.frick.org/directoryweb/browserecord.php?-action=browse&-recid=6637. Latest activity Category:Browse __FORCETOC__